The new Flatland Feature is here at MWCP providing a widespread opportunity to photographers who are creating work about this region or the multitude of other places, ideas and concepts.
The Flatland Feature is an online feature that showcases photographers work in a series format as a virtual gallery experience. Each series of photographic work consists of 10 - 20 images. These talented photographers are featured here for the inagural issue of Flatland Feature.
FLATLAND
FEATURE
ISSUE 2
FEATURE DATES - AUGUST, 2026 - JANUARY, 2027
FEATURED ARTISTS:
Kylo-Patrick Hart, Aledo, TX;
Irina Jomir, Oslo, Norway;
Maureen O'Leary, New York, New York;
Linda Robinson, Wichita, KS;
David Wood, Winterset, IA.
Irina Jomir
Irina Jomir's artistic practice centers on the psychological and spiritual dimensions of the feminine experience. Through symbolic visual language, she explores themes of silence, emotional legacy, and inner transformation. Drawing from myth, ritual, and archetypal memory, her works merge sacred iconography with personal narrative to create allegorical portraits that inhabit a space between the intimate and the universal.
Irina Jomir (b. 1983, Chișinău, Moldova) is an internationally awarded fine art photographer based in Norway. Working with staged photography, digital collage, and digital painting, she creates symbolically layered visual narratives exploring secrecy, transformation, and the feminine psyche.
Her work has been exhibited internationally, including at CICA Museum (South Korea), House of Lucie (Greece and Hungary), Monochrome at PH21 Gallery (Barcelona), and Identity at Insa Art Center (Seoul). Jomir’s photographs are held in the permanent collections of the Museo d’Arte di Chianciano Terme (Italy) and the Museum of Avant-garde (Switzerland). She is the recipient of multiple international awards, including Photographer of the Year at BIFA 2023, 1st Place at the Women United Art Prize 2024, Overall Winner at the Julia Margaret Cameron Awards (FotoNostrum, Spain, 2025), and Finalist at the Guy Billout MA-g Awards (Museum of Avant-garde, Switzerland, 2025) and the Luxembourg Art Prize (Pinacothèque Museum, Grand Duchy of Luxembourg, 2024).
Prints in the series are Archival Inkjet Prints, NFS.
Linda Robinson
Highway 101
Linda Robinson's work explores the subversion of the codes of snapshot photography, the minimalist landscape, and their correlation to memory in reference to issues of home and domesticity. Robinson examines the integrity of the photograph itself as a device to document life. She comments on daily life through detailed images of places, domestic spaces and interesting aspects found in the contemporary landscape. The vintage snapshot aesthetic influences her imagery, drawing her attention to photograph the simplicity and banality of daily life and exploration, commenting on memories. The impetus of her creative exploration is a conversation about home and travel, balancing the inner-subjectivity of past and present. She is interested in bringing attention to the dichotomy and how specifically the process of documenting life is the mainstay which informs her work.
Linda Robinson is the the MWCP Gallery Director. Her academic career includes the 15 year tenure as Assistant Professor and head of the Photography Department at Wichita State University, School of Art and Design. Robinson received her Master of Fine Arts Degree in Photography from the San Francisco Art Institute, and her Bachelor of Fine Arts Degree in Graphic Design from the Wichita State University. Robinson's photographs have been included in several national exhibitions including the Edwin A. Ulrich Museum of Art in Wichita, KS; the Diego Rivera Gallery in San Francisco, CA; SOMArts Gallery in San Francisco, CA; 1650 Gallery in Los Angeles, CA; and Center for Photography at Woodstock in Woodstock, NY; as well as many solo exhibitions locally in her native city of Wichita, Kansas. Her work has been published in Graphis, New York, NY. Currently her work is represented at Dolphin Gallery in Kansas City, Missouri.
Prints in the series are Archival Pigments prints from C-Prints, 20" X 20", $525 each.
David Wood
David's story is not the usual one. He shot for many years, and then stopped to provide the art-film service dr5. After years of service David closed the shop and took dr5 full circle, back to exclusively his own work once again. 3 years ago, David's wife and he both decided to once again pick up the camera, this time he is delving into a more artistic approach. Throughout his years in photography he had never reached out to galleries or exhibited his work, this is the first.
David's early journey of photographic study was at Citrus college. He also studied chemstry at NYU. David had experienced photography of hard-knocks in the beginning. He spent 17 years of shooting fashion editorial photography in NYC and Los Angeles. In 1990 the dr5 process was created w/patent + trade secret, initially created for his own work/photography. In 1998 David stopped shooting to provide the art service - dr5 for other photographers. The lab closure was in late 2023 after 27 years and millions of processed rolls.
In early 2022 the decision was made to re-start shooting once again. The works presented here are all new since early 2022. David decided to come up with some new ideas for this new restart, adapting cinematic lenses for still work. Using large format film cameras and digital to create something new and artistic from what he was doing in the past.
Prints in the portfolio are inkjet prints from 4X5 film, 16" X 20", 2022 - 2026, $250 each.
Maureen O'Leary
"Record"
"Record", is a collection of color photographs of civic structures that builds a quiet, visual paean to things governmental through indirect observations. The photographs were taken primarily in Washington, D.C. but specifics are deemphasized creating room for the imagery alone to elicit feelings, potentially complex ones, about the ethos of our collective national striving and how it takes physical form. "Record" consists of 42 square, color photographs arranged in sextets across sixty-four pages of a 10.5 X 12 inch book published by the Midwest Center for Photography. There is also a short essay by O'Leary. The book has a linen hardcover design replicating a standard government-issue notebook (front, back and spine). The book describes romantic emotions in the everyday and the mundane.
These photographs describe the aesthetic of government as told through quiet images. The photographs collectively comprise art direction for a movie unfilmed. As a child of a public adminstrator in Washington, D.C., O'Leary absorbed in fragments the business of the government, vistas from a car window and snapshots of a giant machine shut down after hours. Television filled-in policy fragments that transmitted a nonspecific sense of purpose. Whether through stories of the government's assuaging role in the Great Depression, or through experiences of civic parks mingling the built and wild environments, a visual point of view took root. The maw and enormity of federal buildings, the secretive but trusted transactions that happened therein, and the even sea of the workforce became elements of a sensibility.
O'Leary tells the story of this evolved feeling through pictures of municipal places. Proper nouns and iconic recognizability are not necessary. Places are often closed at the time photographed. Details of buildings and objects, many of which are dominated by their functionality, become the resting places of distracted attention. The sights are the physical manifestation of collective human effort, both flawed and inspired, a living mausoleum of human striving. An aesthetic emerges by default as the accumulation of ambitions realized, some achieved and some failed, bold projects alongside the mundane steps of their realization, and efforts that span the domestic, the scientific, the relational and the protective.
The visual cues are not sequential, the journey implied does not follow a single path. Windows are touchstones, the transitional spaces between worlds and the architectural elements of passage. The photographs emphasize where the eye falls when not focusing, both downward to earth and upward to the sky. The resulting muted palette of greens, beiges, whites and grays coats apparatuses of unspecified function — buildings of solidity with no way in, and openings that only partially reveal their holdings. Historic specifics are inessential, secondary to setting, pace, and mood, and the teetering balance among optimism, ennui and peace., Maureen O'Leary is a painter and photographer based on Long Island and in New York, New York who makes work about nature, ordinariness, and daydream. Her work is often about light on form and chronicles her experiences as would a diary. She received her B.S. from Yale University, New Haven, Connecticut, and additional training at the International Center of Photography, New York, New York. O'Leary printed her first book of photography, "Belle Mort" (2013), with Paper Chase Press, Los Angeles, California in collaboration with artist and poet Terri Phillips, Memphis, Tennessee. Her photography has been shown here at the Midwest Center for Photography, Wichita, Kansas; Wayfarers, Brooklyn, New York; Marshall Arts, Memphis, Tennessee and Higher Bridges Gallery, Enniskillen, Northern Ireland, among other venues. "Belle Mort" is now part of the Indy Photobook library in the public collection of the Beinecke Rare Book and Manuscript Library at Yale University. O'Leary's work was recently included in the retrospective publication "Ten Years of Photographs" (2018) by Linda Robinson, curator of the Midwest Center for Photography.
Prints in the series are Archival Pigment Prints, 20" X 20", series of 3 with 1 AP, $500 each.
Kylo-Patrick Hart
"Creativityscapes"
Kylo-Patrick Hart/s overall approach to photography and related forms of artistic production results from the combined influences of Cubism, Expressionism, Fauvism, Impressionism, and Surrealism, all of which affect how Kylo-Patrick sees the world around him and then proceed to document it. From the moment he received his first camera as a young boy, he has been fascinated by how every individual sees the same imagery, and chooses to capture it, in remarkably different ways. Kylo-Patrick has long realized that his way of observing and documenting the world around us — from what he decides to shoot to how he actually proceeds in doing so — is unique to him as an artist, which is why he loves expressing himself through the medium of photography. With his images, he strives to demonstrate that our world is a continuously fascinating and beautiful place offering endless aesthetic pleasures to those who take the time to observe its nuances intentionally closely. His current project, from which these twenty photographs have been culled, is titled Creativityscapes. It features somewhat atypical approaches to creating and sharing unique, eye-catching cityscapes, cloudscapes, landscapes, and waterscapes with others.
Kylo-Patrick Hart is an award-winning photographer (Budapest International Foto Awards, European Photography Awards, Global Photography Awards, Golden Shot International Photography Awards, London Photography Awards, New York Photography Awards, Pollux Awards, Tokyo International Foto Awards, etc.) and chair of the Department of Film, Television and Digital Media at Texas Christian University (Fort Worth, Texas, USA). He received his formal training in digital media arts while a student at the University of Michigan and Wayne State University, with additional instruction provided by offerings of the Maine Media Workshops and Santa Fe Workshops. His photographs have been exhibited in numerous cities throughout the United States and in several countries abroad.
Prints in the portfolio are Archival Inkjet Prints, 16" X 24", 2022 - 2025, $395 each.